WITH A FOREWORD BY NIGEL McCRERY, CREATOR OF SILENT WITNESS

Going beyond the popular TV show, this is the true story of forensic science from those who solve crimes without witnesses.

How do you identify a serial killer?

What are the tell-tale signs of guilt?

Can we now solve the unsolvable?

Since even before the first season of Silent Witness in 1996, forensic science has played an increasingly important role in the investigation of violent crimes.

With a boom in cold-blooded cases throughout the 1980s, police began to rely on DNA evidence to help them find perpetrators and since then forensic science has taken off as a powerful tool in solving murders. Bestselling true crime author Wensley Clarkson takes us beyond the headlines to examine the real-life stories where forensics have played a crucial role. He speaks to experts who have worked on the most gruesome, most chilling and most shocking crime scenes and explains how notorious criminal cases from across the world were solved.

And he shows how the silent witness is often the one who screams the loudest.

"Students seeking information about nontraditional drama careers will find this an essential handbook. . . . Highly recommended for libraries at all levels." Choice

A Dance Book Club main selection, this guide offers a general explanation of anatomy, kinesiology, and technique for ballet dancers, students, and teachers.

This collection offers writings on the body with a focus on performance, defined as both staged performance and everyday performance. Traditionally, theorizations of the body have either analyzed its impact on its socio-historical environment or treated the body as a self-enclosed semiotic and affective system. This collection makes a conscious effort to merge these two approaches. It is interested in interactions between bodies and other bodies, bodies and environments, and bodies and objects.

How do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance concept. These include analysis of Satoshi Miyagi's production of Sophocles' Antigone (2017), Thomas Ostermeier's production of Ibsen’s Hedda Gabler (2008), the Berliner Ensemble’s Mother Courage (1949), The Constant Prince (1965) performed by Ryzsard Cieslak, and the National Theatre’s production of War Horse (2007). The final section considers a suite of concepts that shape postdramatic and intermedial theatre from China, Germany-Bangladesh, Australia, the United States, and United Kingdom. The volume is supported by further online resources including video material, questions, and exercises.

This catalogue accompanies an international exhibition, "First Kings of Europe," and another volume also published by the Cotsen Institute, First Kings of Europe: From Farmers to Rulers in Prehistoric Southeastern Europe, that examine the artifacts and cultures of this area from the Neolithic to the Iron Age. Over several millennia, early agricultural villages gave rise to tribal kingdoms and monarchies, replacing smaller, more egalitarian social structures with complex state organizations led by royal individuals invested with power. Several hundred objects and artifacts in the exhibition are portrayed in the catalog, accompanied by introductory text and detailed entries for each item. The spectacular and highly detailed color photographs introduce us to the gold and silver ornaments, bronze and iron weaponry, rich metal hoards and magnificent ceremonial vessels that are masterpieces from this period of history. Many of them have never left their countries of origin, making the two volumes documenting them an opportunity not to miss.

This is a pioneering introduction to a subject that is still at an early srage of academic development. It aims to provide the reader with a systematic method for the historical understanding of African art. Professor Vansina considers the medium, technique, style and meaning of art objects and examines the creative process through which they come into being. Numerous photographs and drawings illustrate his arguments, and help to explain the changes that have taken place.

The Godfather is a classic. Not just of Hollywood or America, but in worldwide cinema. Its legacy not only lives on in the 21st century, but it has also transcended its origins, today meaning more to so many than just a movie: it's a religion. Its cast of future Hollywood heartthrobs and acting icons – Brando! Pacino! De Niro! Caan! Duvall! Keaton! – was perfect. Its script, a masterpiece. Its score too. It became 1972's highest grossing movie and would remain the world's top grossing film for decades. And it received unprecedented critical acclaim. The Little Book of The Godfather is a celebration of this classic slice of cinema on its 50th birthday. It has everything a Godfather fanatic could want, and certainly could not refuse: from to killer stats to stunning facts, production notes to classic quotes, stories and tales from the set and the ongoing impact of the film's now legendary status. It's all here. Come and get it. 'Leave the gun. Take the cannoli.' Peter Clemenza 'You found paradise in America. You had a good trade, you made a good living. The police protected you and there were courts of law. So you didn't need a friend like me. Now you come and say "Don Corleone, give me justice." But you don't ask with respect. You don't offer friendship. You don't even think to call me "Godfather". You come into my house on the day my daughter is to be married and you ask me to do murder – for money.' Don Corleone

Widely studied, frequently staged—verbatim theatre is everywhere. In this new book, Mark Wheeller, the author of verbatim hits Too Much Punch for Judy, Hard to Swallow, Missing Dan Nolan and Game Over, and the most performed living playwrights in the UK, takes a personal journey through the form, and demystifies the making process.  For Mark, his verbatim theatre journey all began with a man called Graham Salmon – the world's fastest blind runner.  Verbatim: The Fun of Making Theatre Seriously is a perfect handbook for teachers, educators, students and anyone interested in the creative process.   

This is a topical resource that provides a comprehensive look at the most influential women in Hollywood cinema across a wide-range of occupations rarely found together in a single volume. Unlike other anthologies, Hollywood Heroines: The Most Influential Women in Film History is a hybrid of film history and industry information with an exclusive focus on prominent women. This reference work includes more commonly discussed categories of important women in Hollywood film history, such as directors and actresses, and reaches beyond them to encompass women working as cinematographers, casting directors, studio heads, musical composers, and visual and special effects supervisors. The wide range of filmmaking crafts covered in the book provides an acute view of the industry and increases the visibility of and quality of representation for women working in Hollywood. By bringing the experience of these influential women to light, Hollywood Heroines joins a growing movement that endeavors to dismantle harmful, long-standing industry myths that perpetuate the systemic underrepresentation of women and the devaluation of women's stories in the Hollywood film industry.

There is no shortage of Hollywood films about historical events, but what do the movies actually get right, and why do they get so much wrong? Hollywood loves a story: good guys versus bad guys, heroes winning the day, and the guy gets the girl. But we all know real life isn't exactly like that, and this is even more true when we look at history. Rarely do the just prevail and the three-act story cannot exist over continents and decades of human interaction. So, when Hollywood decides to exploit history for profit, we end up with a wide array of films. Some are comedies like Monty Python and the Holy Grail, others are little more than action films playing dress up like Gladiator, and many are Oscar contenders burdened with an enormous sense of self-importance. But very few are historically accurate. From Cleopatra to Da 5 Bloods, the reality is no matter what Hollywood's intentions are, almost all historical films are an exaggeration or distortion of what really happened. Sometimes the alterations are for the sake of brevity, as watching a movie in real time about the Hundred Years War would literally kill you. Other additions may be out of necessity, since nobody thought to write down the everyday conversations between King Henry VIII and his second wife, Anne Boleyn, for The Other Boleyn Girl. And some projects twist the facts to suit a more sinister purpose. In Hollywood and History, Jem Duducu takes readers through thousands of years of global history as immortalized and ultimately fictionalized by Hollywood, exploring many facets of the representation of history in movies from the medieval times to the wild west and both World Wars. Along the way, readers will also better understand Hollywood's own history, as it evolved from black and white silent shorts to the multiplex CGI epics of today. As studios and audiences have matured through the years, so too have their representations of history. Armies will clash, leaders will be slain, empires will fall, and a few historical inaccuracies will be pointed out along the way. A must-read for film and history fans alike.

The first monograph of Rogan Gregory, the artist/designer on the forefront of contemporary organic form-making Rogan Gregory's work pushes boundaries across media and scale from miniature bronze animal forms to towering sculptures and furniture in innovative aggregated materials. Gregory's iterative process and life-long interests in abstract forms, geology, and evolutionary biology allow him to develop an organic aesthetic unlike that of any designer working today. This debut monograph explores Gregory's work through the elemental inspirations that condition his work. Contributions by landscape architect Edwina von Gal, interior designer Pamela Shamshiri, and conservation biologist Tremaine Gregory reflect the synthesis of disciplines Gregory brings to his practice. Co-published with R & Company, this book is an object in its own right, incorporating Gregory's design and materials sensibilities.

The Ching Room A pitch-black two-hander set in a toilet cubicle. Rory realises he is out of his depth once he becomes trapped by the terrifying and enigmatic drug-dealer, Darren.  Cast size: 2M. “Has subtle depth as a meditation on drug culture… The character of Darren is a demon for our times.� The Scotsman “Exudes the same sort of self-assurance as Gregory Burke’s debut, Gagarin Way… You can see real talent at work here.� Metro “As tight as a short drama set in a toilet cubicle should be…A curiously compelling little play… A script riddled with priceless back-alley gems.� The Herald “It’s exciting, totally absorbing theatre.� City Life, Manchester Turbo Folk A sharp look at Scottish nationality at home and abroad. Set in the sort of bar you wouldn’t take tourists to, in an unspecified Balkan country, Turbo Folk earned Bissett a nomination for Best New Play at the 2010 Critics’ Awards for Theatre in Scotland (CATS).  Cast size: 3M. “Tells its story with pace and economy and delivers a real and frightening dramatic punch… The games Bissett plays with language are dazzling.� The Scotsman

Whether you’re applying for drama school, taking an exam, or auditioning for a professional role, it’s likely you’ll be required to perform one or more monologues, including a piece from a contemporary play. It’s vital to come up with something fresh that’s suited both to you – in order to allow you to express who you are as a performer – and to the specific purposes of the audition. In this book, you’ll find forty fantastic speeches featuring female roles, all written and premiered since the year 2014, by some of the most exciting dramatic voices writing today. Playwrights include Mike Bartlett, Andrew Bovell, Chris Bush, Jez Butterworth, Vivienne Franzmann, Ella Hickson, Lucy Kirkwood, Chinonyerem Odimba, Frances Poet and Stef Smith. The plays featured were premiered at leading venues including the National, the Royal Court, Soho and Hampstead in London, prestigious theatres in Cardiff, Chichester, Edinburgh and Sheffield, and by renowned companies including Clean Break, Frantic Assembly and HighTide. Drawing on her experience as an actor, director and teacher at several leading drama schools, Trilby James introduces each speech with a user-friendly, bullet-point list of ten essential things you need to know about the character, and then five inspiring ideas to help you perform the monologue. This book also features a step-by-step guide to the process of selecting and preparing your speech, and approaching the audition itself. ‘Easy-to-use… The guidance is perhaps the most thorough I have seen in a monologue book’ Teaching Drama on Trilby James’s first volume of Contemporary Monologues Please note that some of the speeches in this volume contain strong language and themes which some readers may find inappropriate.

Claude Monet’s Vétheuil in Winter (1878-79), painted during the artist’s first winter in the village, depicts his new home on the Seine, seen from the opposite bank of the river. Monet’s two and a half years in Vétheuil, a small farming community northwest of Paris, saw two severe winters, the inspiration for this impressionist masterpiece, which is the subject of this ninth volume in the Frick Diptych series. Susan Grace Galassi has written an insightful and engaging essay about Monet’s difficult but productive time in Vétheuil, which saw the death of his wife Camille. The Frick's Monet painting, the only work by the artist in the collection is the basis for other significant canvases made during his stay in the village in both winter and summer. Galassi's essay is accompanied by a text and intriguing new work—Colour experiment no. 109—by the artist Olafur Eliasson, created in response to the Monet painting. Eliasson’s work will be shown at the Frick next to the painting that inspired it.

Discover the work of Aubrey Beardsley, a complex and intriguing artist who shocked and delighted late-Victorian London Aubrey Beardsley (1872&1898) is best remembered for his powerful illustrations for Salome by Oscar Wilde. Spanning just seven years, his intense, prolific career as a draftsman and illustrator was cut short when he died at the age of 25. His subversive black-and-white drawings and his complex persona became synonymous with decadence: He alighted on the perverse and erotic aspects of life and legend, shocking audiences with his bizarre sense of humor and fascination with the grotesque. His keen observation of his contemporaries makes him of his time, but his distinct style has resonated with subsequent generations. A major influence on the development of Art Nouveau, and on psychedelic pop culture and design in the late 1960s, Beardsley&s drawings remain a key reference for many artists today. Here, short essays on aspects of Beardsley&s remarkable career complement reproductions of his fascinating work.

When disaster strikes, survivors suddenly find themselves in a world that has become confusing and unfamiliar. Such traumatic events impose severe psychological strain on every member of a community, but children are a particularly vulnerable group requiring special attention. Children and Disasters addresses the needs of this specific population by examining the impact of major disasters on the mental health and emotional functioning of children. The programs described in this book are designed to provide early intervention to children and families undergoing stress reactions to a catastrophic event. The authors offer interventions aimed at enhancing the skills of mental health professionals, educators, and peer counselors in responding to the intensified demands of disasters. These intervention approaches provide information regarding the event itself, reinforce the legitimacy of the anxieties and fears that children and their families are experiencing, and encourage the expression of feelings in group and individual settings (for the younger child, through drawing and play). Furthermore, they build on the coping capacity of individuals and theirs families and provide concrete coping skills and techniques to alleviate stress reactions. The intervention model can be applied to programs for individual children and their families, multi-family groups, and groups for children in mental health, educational, and community settings. The practical "hands-on" approach to program design makes this book an attractive resource for mental health professionals, social workers, rehabilitation specialists, professional and volunteer counselors, and suicide intervention workers. It will also be useful for school personnel, including teachers, school counselors, and administrators, as well as federal and state emergency planners and coordinators.

Breaking new ground as the first transdisciplinary reader in this field, Video Theories is a resource that will form the basis for further research and teaching. While theories of video have not yet formed an academic discipline comparable to the more canonized theories of photography, film, and television, the reader offers a major step toward bridging this “video gap� in media theory, which is remarkable considering today’s omnipresence of the medium through online video portals and social media. Consisting of a selection of eighty-three annotated source texts and twelve chapter introductions written by the editors, this book considers fifty years of scholarly and artistic reflections on the topic, representing an intergenerational and international set of voices. This transdisciplinary reader offers a conceptual framework for diverging and contradictory viewpoints, following the continuous transformations of what video was, is, and will be.

The first-ever comprehensive book devoted to helping educators use nature journaling as an inspiring teaching tool to engage young people with wild places. In their workshops, John Muir Laws and Emilie Lygren are often asked the how-tos of teaching nature journaling: how to manage student groups in the outdoors, teach drawing skills (especially from those who profess to have none), connect journaling to educational standards, and incorporate journaling into longer lessons. This book, expanding on the philosophy and methods of The Laws Guide to Nature Drawing and Journaling puts together curriculum plans, advice, and in-the-field experience so that educators of all stripes can leap into journaling with their students. The approaches are designed to work in a range of ecosystems and settings, and are suitable for classroom teachers, outdoor educators, camp counselors, and homeschooling parents. Full-color illustrations and sample journal pages from notable naturalists show how to put each lesson into practice. Field-tested by over a hundred educators, this book includes dozens of activities that easily support the Common Core and the Next Generation Science Standards—and, just as important, it will show kids and mentors alike how to recognize the wonder and intrigue in their midst.

Through a series of imaginative approaches to movement and performance, choreographer Deborah Hay presents a profound reflection on the ephemeral nature of the self and the body as the locus of artistic consciousness. Using the same uniquely playful poetics of her revolutionary choreography, she delivers one of the most revealing accounts of what art creation entails and the ways in which the body, the center of our aesthetic knowledge of the world, can be regarded as our most informed teacher.
My Body, The Buddhist becomes a way into Hay's choreographic techniques, a gloss on her philosophy of the body (which shares much with Buddhism), and an extraordinary artist's primer. The book is composed of nineteen short chapters ("my body likes to rest," "my body finds energy in surrender," "my body is bored by answers"), each an example of what Susan Foster calls Hay's "daily attentiveness to the body's articulateness."